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Publicação
Santa Teresa de Jesus na azulejaria e pintura do século XVIII
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Autores
Resumo(s)
É nossa intenção revelar a importância e a forma como Santa Teresa de
Jesus (ou Santa Teresa de Ávila como também é conhecida) foi entendida na
conjuntura artística portuguesa da centúria de Setecentos. Assim, o presente estudo
incide na caracterização e análise dos ciclos azulejares e de pintura de temática
teresiana que integram a decoração de numerosos espaços religiosos portugueses
desse período. Para tal, foi necessário conhecer foram as origens da Ordem dos
Carmelitas Descalços, fundada por Santa Teresa em 1562 no contexto do Concílio
de Trento, e aprofundar o conhecimento da sua personalidade em todos os níveis
que a distinguem: mulher, freira, escritora, reformadora, fundadora, mística e santa.
A problematização sobre a existência ou não de uma “arquitectura carmelita”
permitiu compreender a realidade arquitectónica dos cenóbios teresianos em
território nacional e, consequentemente, o modo como a decoração foi neles
integrada. Igualmente constatou-se que existiam três formas diferentes de retratar a
santa carmelita. A primeira, na decoração in situ dos espaços conventuais
Carmelitas Descalços, em particular nos conventos femininos; a segunda,
assinalando a sua presença em programas decorativos “distintos” de outras ordens
religiosas, e a terceira, identificando obras de cariz teresiano em contexto
museológico.
Através da concretização de um estudo iconográfico e iconológico foi
possível, segundo os preceitos tridentinos, apreender o uso das imagens sobre
Santa Teresa de Jesus, na sua dimensão ideológica e conceptual. Procurou-se,
igualmente, definir qual o discurso que essas múltiplas figurações pretendiam
comunicar e como hoje ainda o fazem, bem como as ideias por elas veiculadas, os
seus significados e códigos de representação. Todos estes aspectos reforçaram a
mensagem desta mulher e a sua imagem, criando as condições que permitiram à
Ordem por ela (re)fundada de assumir um novo protagonismo em Portugal na
sequência da Restauração de 1640 pelo apoio expresso à nova dinastia.
It is our intention to reveal the importance and in what way Saint Teresa of Jesus (or Saint Teresa of Ávila as she is also known) was understood in the Portuguese artistic context of the 18th century. The present study focuses on the characterization and analysis of the series in azulejo (tile) and paintings of Teresian subjects, that integrate the decoration of a large number of Portuguese religious spaces of this time. For this, it was necessary to understand the origins of the Order of the Barefooted Carmelites, founded by Saint Teresa in 1562, in the context of the Council of Trent, and to know better her personality on all levels that distinguish her: woman, nun, writer, reformer, foundress, mystic and saint. The problematization of the existence or not of a "Carmelite architecture" made it possible to understand the architectural reality of the Teresian monasteries in Portuguese territory and, consequently, the way in which the decoration was integrated in these spaces. Likewise, it was determined that there were three different ways of portraying Saint Teresa of Jesus. The first was the in situ decoration of convents of the Barefooted Carmelites, particularly in the female convents; the second was her presence in decorative programs of other religious orders; and the third were Teresian Art works in museums. Through the implementation of an iconographic and iconological study, it was possible, according to the Tridentine rules, to apprehend the use of images of Saint Teresa of Jesus in both its ideological and conceptual aspects. It was also sought to define what discourse these multiple images aimed to communicate, in the past and nowadays. In another level it was important to define the ideas they conveyed, their meanings and their codes of representation, which reinforced her message and her image, creating the conditions that allowed the Order that she (re)founded to assume a new role in Portugal following the Restoration of Portuguese Independence in 1640 by expressing their support to the new dynasty.
It is our intention to reveal the importance and in what way Saint Teresa of Jesus (or Saint Teresa of Ávila as she is also known) was understood in the Portuguese artistic context of the 18th century. The present study focuses on the characterization and analysis of the series in azulejo (tile) and paintings of Teresian subjects, that integrate the decoration of a large number of Portuguese religious spaces of this time. For this, it was necessary to understand the origins of the Order of the Barefooted Carmelites, founded by Saint Teresa in 1562, in the context of the Council of Trent, and to know better her personality on all levels that distinguish her: woman, nun, writer, reformer, foundress, mystic and saint. The problematization of the existence or not of a "Carmelite architecture" made it possible to understand the architectural reality of the Teresian monasteries in Portuguese territory and, consequently, the way in which the decoration was integrated in these spaces. Likewise, it was determined that there were three different ways of portraying Saint Teresa of Jesus. The first was the in situ decoration of convents of the Barefooted Carmelites, particularly in the female convents; the second was her presence in decorative programs of other religious orders; and the third were Teresian Art works in museums. Through the implementation of an iconographic and iconological study, it was possible, according to the Tridentine rules, to apprehend the use of images of Saint Teresa of Jesus in both its ideological and conceptual aspects. It was also sought to define what discourse these multiple images aimed to communicate, in the past and nowadays. In another level it was important to define the ideas they conveyed, their meanings and their codes of representation, which reinforced her message and her image, creating the conditions that allowed the Order that she (re)founded to assume a new role in Portugal following the Restoration of Portuguese Independence in 1640 by expressing their support to the new dynasty.
Descrição
Palavras-chave
Teresa de Jesús, Santa, 1515-1582 - Na arte Azulejo - Portugal - séc.18 Pintura - Portugal - séc.18 Teses de doutoramento - 2018